He also recorded several solo albums, the most notable example of which was Slaughter on 10th Avenue, which reached No. 9 on the UK Albums Chart.[3] Ronson played with various bands after his time with Bowie. He was named the 64th greatest guitarist of all time by Rolling Stone in 2003[4] and 41st in 2012 by the same magazine.[5]

Michael Ronson was born in Kingston upon Hull in 1946. He was the first son of George and Minnie Ronson and had two younger siblings, Maggi and David.[6] As a child he was trained classically to play piano, recorder, violin, and (later) the harmonium. He initially wanted to be a cellist, but moved to guitar upon discovering the music of Duane Eddy, whose sound on the bass notes of his guitar sounded to Ronson similar to that of the cello.[7] He joined his first band, The Mariners, in November 1963, when he was 17. His stage debut with The Mariners was in support of the Keith Herd Band at Brough Village Hall, a gig for which the band travelled 35 miles and got paid 10 shillings (50p). While Ronson was working with The Mariners, another local Hull group – The Crestas – recruited him on the advice of The Mariners' bassist John Griffiths. With Ronson on board the Crestas gained a solid reputation, making regular appearances at local halls: Mondays at the Halfway House in Hull, Thursdays at the Ferryboat Hotel, Fridays at the Regal Ballroom in Beverley, and Sundays at the Duke of Cumberland in North Ferriby.

In 1965, Ronson left The Crestas, moving to London to seek work. He took a part-time job as a mechanic, and joined a band called The Voice, replacing Miller Anderson. Soon afterwards, Crestas' drummer Dave Bradfield travelled to London, replacing the Voice's previous drummer. After playing a few dates with the group, Ronson and Bradfield returned from a weekend in Hull to find their gear piled at their flat and a note explaining that the rest of the group had gone to The Bahamas. Ronson stayed in London and teamed up briefly with a soul band called The Wanted, before eventually returning to Hull. In 1966, he joined Hull's top local band, The Rats, joining singer Benny Marshall, bassist Geoff Appleby, and drummer Jim Simpson (who was subsequently replaced by Clive Taylor and then John Cambridge). The group played the local circuit, and made a few unsuccessful trips to London and Paris.

In 1967 The Rats recorded the one-off psychedelic track, "The Rise and Fall of Bernie Gripplestone"[8] at Fairview Studios in Willerby, East Riding of Yorkshire and can be heard on the 2008 release, Front Room Masters – Fairview Studios 1966–1973.[9] 1968 saw the band change their name briefly to Treacle and book another recording session at Fairview Studios in 1969, before reverting to their original name. Around this time, Ronson was recommended by Rick Kemp to play guitar on Michael Chapman's Fully Qualified Survivor album.[8]

In 1968 Keith 'Ched' Cheesman joined The Rats replacing Geoff Appleby on bass and the line up of Ronson, Marshall, Cheesman and Cambridge entered Fairview studio to record "Guitar Boogie", "Stop and Get A Hold of Myself" and "Morning Dew".

When John Cambridge left The Rats to join his former Hullaballoos bandmate Mick Wayne in Junior's Eyes, he was replaced by Mick "Woody" Woodmansey. In November 1969, the band recorded a final session at Fairview, taping "Telephone Blues" and "Early in Spring".

Early in 1970, John Cambridge came back to Hull in search of Ronson, intent upon recruiting him for a new David Bowie backing band called The Hype. He found Ronson marking out a rugby pitch, one of his duties as a Parks Department gardener for Hull City Council. Having failed in his earlier attempts in London, Ronson was reluctant, but eventually agreed to accompany Cambridge to a meeting with Bowie. Two days later, on 5 February, Ronson made his debut with Bowie on John Peel's national BBC Radio 1 show.

The Hype played their first gig at The Roundhouse on 22 February with a line-up that included Bowie, Ronson, Cambridge, and producer/bassist Tony Visconti. The group dressed up in superhero costumes, with Bowie as Rainbowman, Visconti as Hypeman, Ronson as Gangsterman, and Cambridge as Cowboyman. Also on the bill that day were Bachdenkel, The Groundhogs and Caravan. The following day they performed at the Streatham Arms in London under the pseudonym of 'Harry The Butcher'. They also performed on 28 February at the Basildon Arts Lab experimental music club at the Basildon Arts Centre in Essex, billed as 'David Bowie's New Electric Band'. Also on the bill were High Tide, Overson and Iron Butterfly. Strawbs were due to perform but were replaced by Bowie's New Electric Band. John Cambridge left in March, again replaced by Woody Woodmansey.[11] In April 1970, Ronson, Woodmansey, and Visconti started recording Bowie's The Man Who Sold the World album.[12]

During the sessions for The Man Who Sold the World, the trio of Ronson, Visconti, and Woodmansey – still under The Hype moniker – signed to Vertigo Records. The group recruited Benny Marshall from The Rats as vocalist, and entered the studio to record an album. By the time a single appeared, The Hype had been renamed Ronno. "4th Hour of My Sleep" was released on Vertigo to an indifferent reception in January 1971.[8] The song was written by Tucker Zimmerman.[13][14] The B-side was a Ronson/Marshall composition called "Powers of Darkness".[14] The Ronno album was never completed.

Bowie's backing ensemble, which now included Trevor Bolder who had replaced Visconti on bass guitar and keyboardist Rick Wakeman, were used in the recording of Hunky Dory. The departure of Visconti also meant that Ronson, with Bowie, took over the arrangements, while Ken Scott co-produced with Bowie. Hunky Dory featured Ronson's string arrangements on several tracks, including "Life On Mars?".[15]

It was this band, minus Wakeman, that became known as The Spiders from Mars from the title of the next Bowie album.[8] Again, Ronson was a key part of The Rise and Fall of Ziggy Stardust and the Spiders from Mars, providing string arrangements and various instrumentation, as well as playing lead guitar. Ronson and Bowie achieved some notoriety over the concerts promoting this album, when Bowie would simulate fellatio on Ronson's guitar as he played. Ronson's guitar and arranging during the Spiders from Mars era provided much of the underpinning for later punk rock musicians.[16] In 1972 Ronson provided a strings-and-brass arrangement for the song "Sea Diver" on the Bowie-produced All the Young Dudes album for Mott the Hoople, and co-produced Lou Reed's album Transformer with Bowie, playing lead guitar and piano on the song "Perfect Day". Again with Bowie, he re-recorded and produced the track "The Man Who Sold the World" for Lulu,[17] released as a single in the UK, and played on a few tracks on the Dana Gillespie album Weren't Born a Man. Ronson appeared on the 1972 country rock album Bustin' Out by Pure Prairie League, where he undertook string ensemble arrangements and contributed guitar and vocals on several tracks, most notably "Angel #9", which Ronson recorded for his second solo LP Play Don't Worry.

I was playing Slick's guitar ... I had heard Slick play solos all night so I decided not to play solos and I just went out and thrashed the guitar. I really thrashed the guitar, I was waving the guitar above my head and all sorts of things. It was funny afterwards because David said, 'You should have seen [Earl Slick's] face...' meaning he looked petrified. I had his prize guitar and I was swinging it around my head and Slick's going 'Waaaa... watch my guitar', you know. I was banging into it and it was going round my head. Poor Slick. I mean, I didn't know it was his special guitar, I just thought it was a guitar, a lump of wood with six strings.[20]

Bowie said in a 1994 interview that "Mick was the perfect foil for the Ziggy character. He was very much a salt-of-the-earth type, the blunt northerner with a defiantly masculine personality, so that what you got was the old-fashioned Yin and Yang thing. As a rock duo, I thought we were every bit as good as Mick and Keith or Axl and Slash. Ziggy and Mick were the personification of that rock n roll dualism."[21]

After leaving Bowie's entourage after the "Farewell Concert" in 1973, Ronson released three solo albums. His solo debut Slaughter on 10th Avenue, featured a version of Elvis Presley's "Love Me Tender", as well as Ronson's most famous solo track, "Only After Dark".[8] In addition, his sister, Margaret (Maggi) Ronson, provided the backing vocals for the set. Between this and the 1975 follow-up, Ronson had a short-lived stint with Mott the Hoople.[8] He then became a long-time collaborator with Mott's former leader Ian Hunter, commencing with the album Ian Hunter[22] (UK No. 21) and featuring the UK Singles Chart No. 14 hit "Once Bitten, Twice Shy",[23] including a spell touring as the Hunter Ronson Band.[8] In 1980, the live album Welcome to the Club was released, including a couple of Ronson contributions, although it also contained a few studio-based tracks – one of which was a Hunter/Ronson composition. In 1974, Ronson secured the No. 2 spot from a reader's poll in Creem magazine as the best guitarist that year (with Jimmy Page taking first place), and Eric Clapton in third place after Ronson.[24]

"I owe Mick Ronson the hit song 'Jack & Diane'. Mick was very instrumental in helping me arrange that song, as I'd thrown it on the junk heap. Ronson came down and played on three or four tracks and worked on the American Fool record for four or five weeks. All of a sudden, for 'Jack & Diane', Mick said 'Johnny, you should put baby rattles on there.' I thought, 'What the fuck does put baby rattles on the record mean? So he put the percussion on there and then he sang the part 'let it rock, let it roll' as a choir-ish-type thing, which had never occurred to me. And that is the part everybody remembers on the song. It was Ronson's idea." (John Mellencamp, Classic Rock magazine, January 2008, p.61)

Both "Jack & Diane" and American Fool topped their respective US Billboardcharts.

Ronson was recruited to Midge Ure's band for Ure's Gift tour in 1985. After weeks of rehearsal, Ronson left the band due to financial disagreements and was replaced by Zal Cleminson.

In 1990, Ronson again collaborated with Hunter on the album YUI Orta, this time getting joint credit, as "Hunter/Ronson".[8] One of the backing singers on the album was Carola Westerlund. While in Sweden Ronson wrote and produced three new songs with Estelle Millburne and Westerlund as EC2: "I'm So Sorry"/"Kiss Me" (1990), then a second single as ECII: "Passion" with a B-side cover of J. Kilette and K. Brown's "I'm Forever Blowing Bubbles".

In 1993, he again appeared on a Bowie album, Black Tie White Noise,[19] playing on the track "I Feel Free", originally recorded by Cream. Ronson and Bowie had already covered this track live 20 years earlier, whilst touring as Ziggy Stardust and the Spiders from Mars. He also played lead guitar on the Morrissey-penned "I Know It's Gonna Happen Someday".

In 1982, he participated on lead guitar in a short-lived band with Hilly Michaels on drums and Les Fradkin on bass guitar. One of their recordings from this group, "Spare Change", appeared on the Fradkin's 2006 album, Goin' Back. In 1987, Ronson made an appearance on a record by The Toll. Ronson played lead on the band's song, "Stand in Winter", from the album The Price of Progression.[citation needed]

Ronson was born in Beverley Road, Hull, East Riding of Yorkshire, in 1946, and later moved to Greatfield, Hull. He was the first son of George and Minnie Ronson and had two younger siblings, Maggi and David.[6] Ronson was married to Suzanne Fussey; they had a daughter, Lisa, a former vocalist with The Secret History. Ronson had two sons, Nicholas (born 1971) with his girlfriend Denise, as well as another son, Joakim (born 1990) with Carola Westerlund.[27][6]